none 10.3998/mpub.14540576 University of Michigan Library University of Michigan Library 2393 168826237 5523275 2026042911203200000 10.3998 2026-04-29T15:42:11Z 2024-12-13T15:51:12Z 0 10.1353/book.142497 Jessica Landau https://orcid.org/0000-0001-7074-8928 Maria Lux Humor, Play & Environmental Destruction in Art & Visual Culture 2026 9798895060131 9798895060148 Amherst College Press Ann Arbor, MI 10.3998/mpub.14540576 https://www.fulcrum.org/concern/monographs/x633f4446 LARPing a speculative shoreline in 2100 at Floyd Bennett air field in Queens, New York. Wist, Allie ES. Lessick, Tim (photography support). 10.3998/mpub.14540576.cmp.1 https://www.fulcrum.org/concern/file_sets/ht24wn85n Left: the author laying on a beach towel outside a restaurant in Coney Island; right: the author pretending to ‘float’ on a stretch of pavement at the Floyd Bennett airfield in Queens. Wist, Allie ES. Lessick, Tim (photography support). 10.3998/mpub.14540576.cmp.2 https://www.fulcrum.org/concern/file_sets/fb494c916 The author attempting to experience future shorelines in Long Island City (top left) and in the Lower East Side (top right and bottom). These are areas that were both damaged by floodwaters from Hurricane Sandy. Wist, Allie ES. Hendricks, Christian (photography support). 10.3998/mpub.14540576.cmp.3 https://www.fulcrum.org/concern/file_sets/j3860b641 Taking care of a calamondin orange plant on a tar roof in Brooklyn. At the time of the project, citrus trees like this wouldn’t survive outdoors in New York state. However, if the temperatures rise substantially enough to move New York into zone 8, it might be more commonly cultivated in home or community gardens. Wist, Allie ES. 10.3998/mpub.14540576.cmp.4 https://www.fulcrum.org/concern/file_sets/2r36v182q An altar to the difficulty of seeing—to what scientists predict, to what we chose not to act on, and to what we struggle to even imagine. It establishes a space to allow for the contradictions inherent in “knowing” the future trajectories of our environment, and also being unable to predict how we might adapt and altar our habits as we change along with landscapes. As Octavia Butler famously said in her writing: “God is Change.”  Wist, Allie ES. 10.3998/mpub.14540576.cmp.5 https://www.fulcrum.org/concern/file_sets/q524jr99s This makeshift altar creates a space to sit with the smell, sight, and sensory experience of a fruit that may survive in New York State if the climate shifted to a warmer Hardiness Zone. Wist, Allie ES. 10.3998/mpub.14540576.cmp.6 https://www.fulcrum.org/concern/file_sets/pr76f6937 The author brings a calamondin orange tree to her local urban garden—a place it might be planted in a warmer future. Wist, Allie ES. 10.3998/mpub.14540576.cmp.7 https://www.fulcrum.org/concern/file_sets/7d278x669 The author tries to set up a makeshift “seaside cafe,” with seaweed salad, for her role play at a possible future shoreline in Long Island City, New York. Wist, Allie ES. Hendricks, Christian (photography support). 10.3998/mpub.14540576.cmp.8 https://www.fulcrum.org/concern/file_sets/3j3335595 The author attempting to experience future shorelines, wearing protective eyewear from an imagined harsh sun, in the Lower East Side (left) and Long Island City (right).  Wist, Allie ES. Hendricks, Christian (photography support). 10.3998/mpub.14540576.cmp.9 https://www.fulcrum.org/concern/file_sets/1z40kw96h A still life image imagines tools for Climate LARPing: tanning googles to protect one’s eyes from the harsh sun, a map of future shorelines, plastic wrap for desalinating ocean water, and foraged beach glass. Wist, Allie ES. 10.3998/mpub.14540576.cmp.10 https://www.fulcrum.org/concern/file_sets/fn107263r The first Sunbot, made from recycled fan parts. McDermott, Kathleen. 10.3998/mpub.14540576.cmp.11 https://www.fulcrum.org/concern/file_sets/h989r654j Sunbot Swarm test in Prospect Park McDermott, Kathleen. 10.3998/mpub.14540576.cmp.12 https://www.fulcrum.org/concern/file_sets/1r66j413n Room on Mars: view from the gallery into the simulation structure on the sidewalk. McDermott, Kathleen. 10.3998/mpub.14540576.cmp.13 https://www.fulcrum.org/concern/file_sets/1g05fg188 Rooms on Mars is a video piece by Kathleen McDermott combining imagery from a site-specific installation wih a year's worth of experimental tests using plants and robotic platforms. McDermott, Kathleen. Metadata record for externally-hosted component 10.3998/mpub.14540576.cmp.14 https://www.fulcrum.org/concern/file_sets/tb09j953d Tutorial for version 2 of the Sunbots, described in Chapter 3 McDermott, Kathleen. Metadata record for externally-hosted component 10.3998/mpub.14540576.cmp.15 https://www.fulcrum.org/concern/file_sets/rr1721261 Design files (circuit board and lasercut files) for Sunbots, described in Chapter 3 McDermott, Kathleen. Metadata record for externally-hosted component 10.3998/mpub.14540576.cmp.16 https://www.fulcrum.org/concern/file_sets/bz60d069w Performance view, "Pissed Off" (David Hammons urinating in lower Manhattan). 1981. Resin- coated print, 10 x 8" (25.4 x 20.3 cm). MoMA PS1 Archives, II.A.794. The Museum of Modern Art Archives, New York. Bey, Dawoud (b. 1953) © Copyright. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY Bey, Dawoud. 10.3998/mpub.14540576.cmp.17 https://www.fulcrum.org/concern/file_sets/sn00b180z Installation view of "Public Enemy" by David Hammons in the exhibition "Dislocations," October 19, 1991–January 7, 1992. Department of Public Information Records, II.B.2753. The Museum of Modern Art Archives, New York. IN1598.19B. Photograph by Scott Frances. © 2024 David Hammons / Artists Rights Society (ARS), New York. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. The artwork is excluded from the Creative Commons CC-BY-NC license. 10.3998/mpub.14540576.cmp.18 https://www.fulcrum.org/concern/file_sets/bk128f21q Two-page spread with Misfits lyrics (left) and a romance-comic-style cover for Lonesome George. The method for generating the images in the comic includes both drawing and cut-and-pasted elements from real photographs, old magazines, film and concert stills, and even plastic flowers laid directly on the photocopy machine bed. Relevant lyrics are included on the pages themselves, bringing to mind the songs if readers are familiar with them, but the end of the book includes a playlist so readers can hear the soundtrack themselves. Famous Monsters, 4-color Risograph print produced by Work Press & Publication, edition of 200, 2019. 10.3998/mpub.14540576.cmp.19 https://www.fulcrum.org/concern/file_sets/z603r178p After being chased by undead passenger pigeons on their cemetery-date, Emily and Paul enter the “last redoubt” in the comic, an outdoor store populated with insufferable characters. 10.3998/mpub.14540576.cmp.20 https://www.fulcrum.org/concern/file_sets/jm214s16g The characters attempt to escape via the indoor rock-climbing wall, but the zombies, or their own selfishness, get the better of them. 10.3998/mpub.14540576.cmp.21 https://www.fulcrum.org/concern/file_sets/dn39x5042 Full text of Famous Monsters, scanned from 4-color Risograph print produced by Work Press & Publication, edition of 200, 2019. 10.3998/mpub.14540576.cmp.22 https://www.fulcrum.org/concern/file_sets/g445ch31v Alexis Rockman, _The Ecotourist_, 1997. Envirotex, digitized photo, artificial plants, carved Styrofoam, acrylic and oil paint, botanical models, synthetic hair, plasticene, latex rubber, clothing, nylon waist pouch, bird field guide, wedding ring, Fresnel lens, rice, plastic taxidermy human eyeball, leaves, empty pack of Camel unfiltered, and oil paint on two wood panels, 56 x 88 x 5 in. © 2024 Alexis Rockman / Artists Rights Society (ARS), New York Rockman, Alexis. 10.3998/mpub.14540576.cmp.23 https://www.fulcrum.org/concern/file_sets/bc386n88m Alexis Rockman, _Rec Room_, 1997. Envirotex, digitized photo, building supplies, insulation, electrical outlet, US currency, women’s underwear, framed watercolor, Plasticine, baby mice, veneer, and oil paint on wood, 48 x 40 x 3.75 in. © 2024 Alexis Rockman / Artists Rights Society (ARS), New York Rockman, Alexis. 10.3998/mpub.14540576.cmp.24 https://www.fulcrum.org/concern/file_sets/1c18dk16g Alexis Rockman, _Tropical Hazards_, 2000. Oil and acrylic on wood. 72 x 84 in. © 2024 Alexis Rockman / Artists Rights Society (ARS), New York Rockman, Alexis. 10.3998/mpub.14540576.cmp.25 https://www.fulcrum.org/concern/file_sets/k0698b59k Sex & Nature Salon. Illustration by Ezra W. Smith, 2021 10.3998/mpub.14540576.cmp.26 https://www.fulcrum.org/concern/file_sets/0r967706k Eleanor Morton as Lonesome George. Sex & Nature Salon, hosted by Arts and Culture, University of Exeter, Zoom and YouTube, 2 Dec 2020 10.3998/mpub.14540576.cmp.27 https://www.fulcrum.org/concern/file_sets/m326m519q Queering Climate Activism. Illustration by Ezra W. Smith, 2022 10.3998/mpub.14540576.cmp.28 https://www.fulcrum.org/concern/file_sets/9019s6189 Donna Conlon and Jonathan Harker, _(Video) Games (Video) juegos_, 2008–9 (Grid of six video stills) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.29 https://www.fulcrum.org/concern/file_sets/w9505388n Donna Conlon and Jonathan Harker, _Handlings (Maníferos)_, 2021 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.30 https://www.fulcrum.org/concern/file_sets/mw22v8766 Donna Conlon and Jonathan Harker, _Gotta Play_, 2021, (video originally created for CAA presentation) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.31 https://www.fulcrum.org/concern/file_sets/4f16c646q Jonathan Harker, _Perejil_, 2002 (Photo postcard) Harker, Jonathan. 10.3998/mpub.14540576.cmp.32 https://www.fulcrum.org/concern/file_sets/76537445z Jonathan Harker, _Marbella_, 2004 (Photo postcard) Harker, Jonathan. 10.3998/mpub.14540576.cmp.33 https://www.fulcrum.org/concern/file_sets/5q47rs201 Donna Conlon, _Trash Trees (Árboles basureros)_, 2004 (Photograph) Conlon, Donna. 10.3998/mpub.14540576.cmp.34 https://www.fulcrum.org/concern/file_sets/5999n708w Donna Conlon, _All Fixed Up (Todo arreglado)_, 2004 (Video still) Conlon, Donna. 10.3998/mpub.14540576.cmp.35 https://www.fulcrum.org/concern/file_sets/6h440w88q Donna Conlon, _Urban Phantoms (Espectros urbanos)_, 2004 (Video still) Conlon, Donna. 10.3998/mpub.14540576.cmp.36 https://www.fulcrum.org/concern/file_sets/2n49t502r Donna Conlon and Jonathan Harker, _Dry Season (Estación seca)_, 2006 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.37 https://www.fulcrum.org/concern/file_sets/hd76s356b Donna Conlon and Jonathan Harker, _Tropical Zincphony (Zincfonía tropical)_, 2013 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.38 https://www.fulcrum.org/concern/file_sets/wp988p43m Donna Conlon and Jonathan Harker, _Capapults (Tapitapultas)_, 2012 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.39 https://www.fulcrum.org/concern/file_sets/x920g150k Donna Conlon and Jonathan Harker, _Invisible Hands (Manos invisibles)_, 2014 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.40 https://www.fulcrum.org/concern/file_sets/1v53k180r Donna Conlon and Jonathan Harker, _Under the Rug (Bajo la alfombra)_, 2015 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.41 https://www.fulcrum.org/concern/file_sets/ff3658485 Donna Conlon and Jonathan Harker, _Tocumen_, 2005 (Photo postcard) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.42 https://www.fulcrum.org/concern/file_sets/r781wk45j Donna Conlon and Jonathan Harker, _Domino Effect (Efecto dominó)_, 2013 (Video still) Conlon, Donna, Harker, Jonathan. 10.3998/mpub.14540576.cmp.43 https://www.fulcrum.org/concern/file_sets/gt54kr494 Screenshot from _The Eternal Cylinder_, featuring mutant creatures in the foreground and the inhuman metal cylinder in the background. 10.3998/mpub.14540576.cmp.45 https://www.fulcrum.org/concern/file_sets/zp38wh035 Screenshot from _Donut County_. BK the raccoon sits on the toilet and plots destruction. 10.3998/mpub.14540576.cmp.46 https://www.fulcrum.org/concern/file_sets/5x21tj790 A sample of screenshots and memes featuring the zany goose in _Untitled Goose Game_. 10.3998/mpub.14540576.cmp.47 https://www.fulcrum.org/concern/file_sets/ws859k045 _CRANE & MAN_ (2018-2020). By Anna Ialeggio, featuring Robyn O'Dell. REDCAT Theater, 8 March 2020. Photo still from video documentation of live performance. Ialeggio, Anna, O'Dell, Robyn. 10.3998/mpub.14540576.cmp.48 https://www.fulcrum.org/concern/file_sets/nk322h73c Ialeggio, Anna. _TWO DIFFRN'T HAYSTACKS_ (2022). Locally grown hay, reclaimed barn timbers, willow, and polypro baling twine. Stone Quarry Hill Art Park, with support from the Puffin Foundation. Ialeggio, Anna. 10.3998/mpub.14540576.cmp.49 https://www.fulcrum.org/concern/file_sets/td96k610t Ialeggio, Anna. _TWO DIFFRN'T HAYSTACKS_ (2022). Performance as "Garge" (a friendly if somewhat destabilizing nature guide/livestock auctioneer/yoga teacher), who explores the spectrum of identities and agencies that constitute “land use”– the shifting, flickering terms on which humans individually and collectively expect to encounter our natural environments. The piece uses humor as a sharp tool to investigate shared complicity in the specific, ongoing histories of colonial land seizure. Stone Quarry Hill Art Park, with support from the Puffin Foundation. Ialeggio, Anna. Metadata record for externally-hosted component 10.3998/mpub.14540576.cmp.50 https://www.fulcrum.org/concern/file_sets/5999n7095 _CRANE & MAN_ (2018-2020). By Anna Ialeggio, featuring Robyn O'Dell. REDCAT Theater, 8 March 2020. Photo still from video documentation of live performance. Ialeggio, Anna. Metadata record for externally-hosted component 10.3998/mpub.14540576.cmp.51 https://www.fulcrum.org/concern/file_sets/q811kp309 Photographic documentation of scored performance, 2018 Performers: Kennedy Bailey, Jenna Beasley, SiSi Chen, Jess Ellis, Kajin Kim, Topher Lineberry, Leo Madriz, Paul Ramírez Jonas, Hannah Schutzengel, Paul Vogeler, Lily Wong, and Xuan Clive Zheng Image Credit: photographs by Simon Benjamin and Spencer Moore 10.3998/mpub.14540576.cmp.52 https://www.fulcrum.org/concern/file_sets/1r66j414x Photographic documentation of scored performance, 2018 Performers: Kennedy Bailey, Jenna Beasley, SiSi Chen, Jess Ellis, Kajin Kim, Topher Lineberry, Leo Madriz, Paul Ramírez Jonas, Hannah Schutzengel, Paul Vogeler, Lily Wong, and Xuan Clive Zheng Image Credit: photographs by Simon Benjamin and Spencer Moore 10.3998/mpub.14540576.cmp.53 https://www.fulcrum.org/concern/file_sets/3x816q90g Video still documentation of scored performance, 2018 Performers: Jenna Beasley, Claire Bishop, Amra Causevic, SiSi Chen, Jess Ellis, Topher Lineberry, Leo Madriz, Paul Vogeler, Lily Wong, Xuan Clive Zheng Image Credit: video stills from documentation by Paul Ramírez Jonas 10.3998/mpub.14540576.cmp.54 https://www.fulcrum.org/concern/file_sets/ng451m69j Video documentation of scored performance, 2018 Performers: Jenna Beasley, Claire Bishop, Amra Causevic, SiSi Chen, Jess Ellis, Topher Lineberry, Leo Madriz, Paul Vogeler, Lily Wong, Xuan Clive Zheng Image Credit: video stills from documentation by Paul Ramírez Jonas 10.3998/mpub.14540576.cmp.55 https://www.fulcrum.org/concern/file_sets/df65vc36k This image represents a proposal for a future variation of the 2018 performance, _My Brush, Your Hand, Our Plants_, re-conceptualized in the early wake of COVID-19. By reducing the number of coalition members and adding six-foot extension handles to the toothbrushes, I wanted to mitigate risk of spreading infection while encouraging maintaining physical connection. 10.3998/mpub.14540576.cmp.56 https://www.fulcrum.org/concern/file_sets/765374467 This image represents a proposal for a future hygiene-as-maintenance performance, inspired by the 2018 performance, _My Brush, Your Hand, Our Plants_, re-conceptualized in the early wake of COVID-19. With the newfound prevalence of handwashing during the pandemic, I wanted to imagine new ways of physically connecting, while researching materials that might be used as both soap and plant nutrients. 10.3998/mpub.14540576.cmp.57 https://www.fulcrum.org/concern/file_sets/5h73q056t Downloadable PDF of the performance score for My Brush, Your Hand, Our Plants by Topher Lineberry, with fixed layout to preserve the unique formatting of the score. 10.3998/mpub.14540576.cmp.58 https://www.fulcrum.org/concern/file_sets/db78tg47v Collage of the covers of four "Tingler" short stories: _Hunter Dentist Pounded in the Butt by Cecil the Handsome Unicorn_, _Pounded in the Butt by the Sentient Manifestation of My Own Ignorant Climate Change Denial_, _Slammed in the Butt by My Sentient Plant Based Vegetarian Cheeseburger_, and _Not Pounded by My Book "Pounded in the Butt by My Non-Fungible Tingler That is Literally This NFT" Because of the Current Catastrophic Environmental and Ethical Impact_. Tingle, Chuck. 10.3998/mpub.14540576.cmp.59 https://www.fulcrum.org/concern/file_sets/6m311s73b Poster for the movie _Pumpkinhead_ (1988) 10.3998/mpub.14540576.cmp.60 https://www.fulcrum.org/concern/file_sets/9019s619k Still of the Tall Man, from Reservation Dogs, Season 1, Episode 6. All seasons of FX’s Reservation Dogs are available to stream on Hulu. Harjo, Sterlin. 10.3998/mpub.14540576.cmp.61 https://www.fulcrum.org/concern/file_sets/h128nj18x A color photograph of tufa dome formations in Pyramid Lake, NV taken with specialized equipment in order to show satellites streaking through the sky at dusk. Here, artist Trevor Paglen revisits a famous American survey photograph by Timmothy O'Sullivan titled _Pyramid and Domes, Pyramid Lake, Nevada_ (1867). Paglen shoots from roughly the same vantage point as O'Sullivan and captures the changes to the geological formations 140 years later. Paglen, Trevor. 10.3998/mpub.14540576.cmp.62 https://www.fulcrum.org/concern/file_sets/zp38wh04f A diptych of photographs, one of which shows the cliff dwellings and geological formations at Canyon de Chelly, AZ. It is based on Timmothy O'Sullivan's famous picture of the same site titled _Ancient Ruins in the Canyon de Chelly_ (1873). The other photograph shows the trajectory of satellites streaking through the night sky at the same location. Paglen, Trevor. 10.3998/mpub.14540576.cmp.63 https://www.fulcrum.org/concern/file_sets/2514np93g A series of glass rockets built from locally produced glass, were launched into the sky using local sugarcane fuel as the propellant. This was one of the first missions of B.A.S.E.C., The Bahamas Aerospace and Sea Exploration Center. Tavares Strachan's B.A.S.E.C. program would endeavor to make post-colonial space exploration a reality in/for/from the point of view of the Black Atlantic. Strachan, Tavares. 10.3998/mpub.14540576.cmp.64 https://www.fulcrum.org/concern/file_sets/br86b6994 This is a logo for the fictional digital education tool. 10.3998/mpub.14540576.cmp.65 https://www.fulcrum.org/concern/file_sets/qf85nf85d This is a before-and-after advertising image for a fictional digital education tool. 10.3998/mpub.14540576.cmp.66 https://www.fulcrum.org/concern/file_sets/vt150n63h Maryland Roads and Community Destruction logo 10.3998/mpub.14540576.cmp.67 https://www.fulcrum.org/concern/file_sets/k930c1777 Detail of Baltimore highway plan in 1960. Note how instead of wasteful parks or greenspaces, the waterfront is primarily used for new highways. City of Baltimore. 10.3998/mpub.14540576.cmp.68 https://www.fulcrum.org/concern/file_sets/z029p8307 logo for alt-institution (Superfun) website St. Louis Divison. 10.3998/mpub.14540576.cmp.69 https://www.fulcrum.org/concern/file_sets/2227ms962 homepages for alt-institution (Superfun) website St. Louis Division. 10.3998/mpub.14540576.cmp.70 https://www.fulcrum.org/concern/file_sets/xd07gx28d Downloadable PDF of Chapter 16: Alt Institutions: A Performance in 3 Acts by Nicole Seymour, Emily Eliza Scott, Rob Gioielli, and Jenny Price 10.3998/mpub.14540576.cmp.71 https://www.fulcrum.org/concern/file_sets/xs55mg83g Scenes from the artist's performance, _Create an Elaborate Scheme to Fundraise Money for Your Dental Work_ in 2017 at the Baltimore Museum of Art. Photos courtesy of the author. Castedo, Raquel. Howng, Phaan (artist), Hyde, Joseph (photographer). 10.3998/mpub.14540576.cmp.72 https://www.fulcrum.org/concern/file_sets/gx41mn22z Images of the installation and marketing elements from the artist's performance, _You're In Good Hands_ at Spring Break Art Fair which took place at 866 United Nations Plaza, New York City, NY. Photo courtsey of the author. Castedo, Raquel. Howng, Phaan (artist), Morgan, Samuel (photographer), Doering, Vivian (photographer), Jones, Elle, (graphic designer). 10.3998/mpub.14540576.cmp.73 https://www.fulcrum.org/concern/file_sets/dn39x505b A still from the film _The Thaw_, depicting a polar bear eating meat from a thawed mammoth carcass. Lewis, Mark A.. 10.3998/mpub.14540576.cmp.74 https://www.fulcrum.org/concern/file_sets/fx719r15w Jennifer Schell's rental car. Schell, Jennifer. 10.3998/mpub.14540576.cmp.75 https://www.fulcrum.org/concern/file_sets/7w62fc615